Album Review: Joe Pitts, Ten Shades of Blue

Artist: Joe Pitts
Title: Ten Shades of Blue

Like most blues fans today, Joe Pitts crew up on a Classic Rock diet of Eric Clapton, Duane Allman and others. If you can say one thing about John Mayall, Cyril Davis and Alexis Korner, it is that their mission to prolong the blues, and serve it back stateside, was successful. Pitt’s album, ‘Ten Shades of Blue’ is an example of one man’s musical journey that would likely never have launched had England not sheltered the art form in the late 50’s and 60’s.

Neither demonstrative not dismissive, Pitts shows he can growl with the best of contemporary blues artists. As the album title suggests, Pitts covers ten artist that were influential to his musical journey. With an overt background in Classic Rock, there are some songs that play more to a rock audience than a blues audience. Water Trout’s heavy handed, ‘Clouds on the Horizon’ is a prime example of Pitts strapping on the electric guitar mantel. Pitts’ cover of Luther Allison’s, “Pain in the Streets” or Eric Gales’, “Freedom from My Demon’s” are showcases for Pitt to expand on this otherwise laconic styling’s.

Arkansas denizen Joe Pitts has traveled the world playing the blues. It is a journey that most listeners will be able to easily connect with: covers on this album include songs by Peter Green, Elmore James and Muddy Waters. On the tenth track, John Mayall’s, “The World Keeps on Turning” Pitts uses a resonator; adding texture to the album. The album is an above average full band electric sound in performance and arrangement.

Programmers can pick a cover and rest assured that Pitt’s authentic blues delivery will satiate a blues listenership.

Album Review: The Kilborn Alley Blues Band, Better Off

Artist: Kilborn Alley Blues Band
Title: Better Off Now

This is the quintessential contemporary blues band; white, Middle-American and offering a wide spectrum of tastes and talents. The new album by The Kilborn Alley Blues Band, ‘Better Off Now’ effectively uses historical blues textures, sounds, instruments and themes to deliver a modern blues sound that is familiar, fresh and nearly at once, comfortable.

Nurtured in the traditional a ‘50’s blues environment of Champaign-Urbana, Illinois; KABB cherry picks influences from among the genres finest including; Buddy Guy, B. B. King, Denise LaSalle and others. While the references may not be apparent, what is clear is this band understands the difference between playing a twelve bar and playing some blues. They are seeped and authentic.

While the opening track, “Nothin’ Left to Stimulate” will draw nods of approval and a smirk in a country bitten by a downturn in economics and opportunity, programmers will want to wade much deeper into the albums track listing to find gold. The albums title track, “Better Off” has a Stax R n’ B sensibility. Eric Michaels organ playing on the track, “Tonight” harkens to those halcyon days when blues and R n’ B were played side-by-side in jukeboxes and juke joints across the nation. Joe Asselin’s harmonica on “Keep Me Hangin’ ” provides a traditional Chicago blues track to round out an already strong record.

This is an exceptionally tasty album that opens slowly but is worth the wait. Singer Andrew Duncanson uses a straight-forward style with an appropriate hint of rasp that is especially effective in ballads and extended notes. KABB has been frequently nominated for awards and national recognition; with albums like, ‘Better Off’ it is apparent why critics, radio hosts and venue are paying close attention.

Album Review: Carolina Chocolate Drops, 'Genuine Negro Jig'

Artist: Carolina Chocolate Drops
Title: Genuine Negro Jig


I must’a been living under a rock… In January of this year the Carolina Chocolate Drops (CCD) earned a Grammy Award for their album, ‘Genuine Negro Jig.’ Shortly after winning their Grammy founding member Justin Robinson was replaced by Adam Matta and Hubby Jenkins. The remaining founding members are; Rhiannon Giddens (vocals, banjo, violin) and Dom Flemons (guitar, banjo, vocals). This Durham, North Caroline black string band met through an online community, ‘Black Banjo: Then and Now.’ As a three piece they committed to learning at the knee of 80-something Joe Thompson and his ‘short bow style.’

While an aspect of the blues community is the demand by some to honor the traditional artform, CCD platforms their sound in a pre-electric Piedmont style but updated to a contemporary setting. The result if a wonderful, credible mix of old and new; engaging the listeners of traditional styles yet opening the door to younger, contemporary music fans too. It is simply, brilliant.

Of the albums twelve tracks, half are traditional songs. The band covers Tom Waits, “Trampled Rose.” Singer Rhiannon Giddens echo of Scottish singer Annie Briggs A-Capella version of the British folk

standard ‘Reynadine” is captivating in its depth and simultaneous simplicity. To quote a You-Tube comment, “This is real soul music.” While the album lacks an overt blues track the band relies on Etta Baker, Papa Charlie Jackson, Blu Cantrell, and Ike & Tina Turner for sources. The use of ‘Who Don’t You Do Right’ is credited to ‘Weed Smokers Dream’ by Harlem Hamfats; which many programmers may have recently received on the ‘Rhythm & Blues’ label’s four CD compilation entitled, ‘Rhythm & Blues, 1925 – 1942.

For programmers this album provides a tasty textural break for listeners yet clings to an authentic root in a fashion similar to the explorations of Chris Thomas King, Taj Mahal or Eric Bibb. This album also makes a good transition between an archival acoustic track (Yazoo, Smithsonian, Lomax) and the renderings of a contemporary artist such as Rory Block.

album review: Eric Johnson, Up Close

Artist: Eric Johnson
Title: Up Close

Guitarist Eric Johnson’s first major label debut, ‘Tones’ was release in 1986. Garnering merely a Grammy nomination on his debut in ‘86, Johnson would take home the Grammy in ’91 for his next release, ‘Ah Via Musicom.’ Long recognized by critics, Johnson’s career seems plagued with failed “breaks” that would have launched others into the upper stratosphere of the music industry. His seemingly inability to connect with a larger audience remains an unsolved mystery. None-the-less, he continues to sporadically release high quality albums that center on instrumentals tracks with tasty albeit grit-free vocals. Reputed to be a perfectionist, one wonders whether this inability to ‘let go’ is the cause of Johnson’s limited market reach. As the “Jeff Beck of the Southern Plains,” Johnson’s ability to write, perform and arrange is beyond reproach.

On ‘Up Close’ Johnson employs his distinct approach to the guitar. Predictably he uses instrumentals to showcase this unique technique; a style that employs traditional blues textures; arcs and bends, but is simultaneously smooth with a near Stanley Jordan-like qualities.

On the cut, “Brilliant Room” Johnson once again teams up with Austin vocalist Malford Milligan to deliver an excellent radio-friendly, up-tempo song. Johnson’s use of ‘hammer down’ techniques behind Milligan’s vocals adds a delicate touch to an already enjoyable tune.

On the fourth track, “Texas” Johnson covers the Buddy Miles/ Mike Bloomfield (Electric Flag) track which is the only straight-ahead blues song.

The track “Gem” uses the guitar sounds to mimic light breaking through a diamond. It is a level of creativity that is seldom heard. “A Change Has Come to Me” harkens the acoustic song style of a previous, late and great, Austin player.

This is a brilliant album that players will immediately gravitate towards. Casual listeners will find the soundscape not only relaxing but full of depth and textures. Programmers will find the album to have long legs with plenty of tracks for broadcast. Traditional blues fans will find little

that appeals to their limited scope in musical stylings.

Album Review: Robin Trower, The Playful Heart

Artist: Robin Trower
Title: the playful heart

By the time Jimi Hendrix got done with the blues – there was a whole new branch in the artform. Yes, he honored the past but he is as significant to contemporary blues as Muddy Waters was to the ‘electric blues.’ With the advent of Hendrix’s influence the door was open to “rock” players using blues textures to emote beyond three chords and a cloud of dust. When the gates finally fell, the hackneyed as well as the credible came in: as it is with all artforms. Since his well received 1974 release, ‘Bridge of Signs’ Britain’s Robin Trower has struggled to focus his interpretation of Jimi’s muse against an unfriendly field of music critics. While there have been peaks over the past 37 years – much of the catalogue is resigned to an adamant niche of disciples. The sense that greatness is within reach resides on many of Trower’s outings is a scab that lingers; unitchable and annoying.

With the release of ‘the playful heart’ former Procol Harem (Lighter Shade of Pale) member Robin Trower has arrived with the finest release of his career.

In 1974, as a 14 year I began my official life long dalliance with Trower’s career by taking the Greyhound to attend his concert in Lincoln, Nebraska. Unrecognized until recently, Tommy Bolin’s edition of the band Moxy opened the show. And like a fetid marriage – the love affair with Trower’s music was arduous, hopeful and frustrating. When vocalist (and original bass player) Jimmy Dewer left the band there were many times when it was more out of routine allegiance than affection that the romance continued…

On the first listen of, ‘Find Me’ to realize that it is that rare, perfect, moment when an artist fully realizes his muse and is able to share it.

Trower’s guitar playing has been consistent; under-playing and highly textured. However the vocals for the band have been its weakest link. When Davey Pattison joined Trower as a vocalist, the magic was back. ‘The Playful Heart’ was recorded with his touring band: vocalist Pattison, drummer Pete Thompson and bassist Glenn Letsch. The album was produced by Livingston Brown (Tina Turner, Bryan Ferry and Sting).

‘The Playful Heart’ is a balanced album where vocals, song writing, performances and arrangements fit together with a synergy that has been missing. Programmers will find that the fifth track, ‘Find Me’ opens up the album. It is a languid tune where the band slips into a groove that allows Trower’s guitar playing to arc and bend above the lyric lines. ‘The Tuning’ is a high energy echo of ‘Too Rolling Stoned.’ The use of whispers in the chorus gives a haunted feel much as it did for The Doors song, ‘Riders on the Storm.’ Like ‘Too Rolling Stoned,’ ‘The Turning’ slows tempo at the three minute mark giving the listener a sense of a panoramic soundscape. Other strong songs include a rockin’, ‘Song for Those While Fell’ and the ballad, ‘Maybe I Can Be a Friend.’ And while I would not say it is jazz, the ninth track, ‘Camille’ uses jazz chords and a light touch to give a late night, candle-lit lounge feel.

Whether an established bluesrock fans that missed Trower’s ‘70’s heyday, or a former fan, this is an excellent album that you will find comfortable and familiar. For die-hard blues purists, unless you choose to follow the thread from Albert King to Jimi Hendrix and beyond, this is probably not an album you will enjoy. For existing fans, this album justifies Trower’s persistence. It is his second “great” record. Young listeners repeatedly demonstrate a fondness for the ‘60’s golden period of Rock, this album cements that bridge between the bygone era of “rock stars” to contemporary electric blues.

Album Review: Russ Tippins Electrickery

Artist: Russ Tippins Electric Band
Title: electrickery

Like America’s rust-belt, Newcastle Upon Tyne, located in the industrial northeast of England, is a hard rock area much like Detroit, Cleveland or Omaha. The area is also largely an unrecognized breeding grounds for world class music talent including; Sting, Bryan Ferry (Roxy Music), The Animals, Mark Knopfler (Dire Straits) and Brian Johnson (AC/DC). Newcastle’s Russ Tippins looks like Pat Travers, sings like a cross between Steve Marriott & Geddy Lee and is heavily influenced by Jimi Hendrix and Jimmy Page. His album, ‘electrickery’ has all the makings for a heavier rock milestone yet heavily influenced by blues textures … this is not a blues record.

Critically, Tippins brings little new to the party but his sound and smooth playing puts the hammer to the anvil and should appeal to blues rock fans; a significant slice of the today’s blues market. The album opens with a fiery cover Hendrix’s ‘Freedom’ and closes with a hidden cover of ‘Lemon Song’ by Led Zepplin (via’s Robert Johnson and Willie Dixon).

In a genre lead by Joe Bonamassa with support from Aynsley Lister and Mato Nanji ; Tippins has strong commercial promise which will expand as his song writing skills develop. Bass player John Dawson and drummer Ian Halford set up a solid platform for Tippins to solo and soar. The track, ‘She’s Gone’ is a powerful ballad that makes easy entry for radio hosts which harkens strongly to late period Humble Pie. The “hit” on this record is the fast-moving panoramic title track, ‘electrickery,’ where Tippins and Dawson whipsaw the fretboard with manic energy.

Christmas Gifts Blues CDs

Looking at the Blues in 2010.
Writer: Rick Galusha

There was a time when Christmas was a religious break; a time of hope and aspiration. But those days seem far away as today December 25th seems little more than a Hallmark pause of retail exuberance. Meanwhile the blues melds into a homogenized exercise that bets on the next ‘horse’ in the endless race of commercial popularity. It would be dishonest to pretend that I hadn’t spent the last twenty years at the ‘racetrack’ and, except for this brief moment of clarity, won’t soon be back with, “a handle in my hand.”

A by-product of the music industry continued meltdown in that this “creative destruction” presents opportunities. Overall, 2010 has been a good year for music. As ‘twas last year, inexpensive technology lowers costs and the market is flooded with homemade projects; thereby, confusing the consumers with choices. This mountain of selection has created an opportunity for voices that try to help discern honorable hobby from recommendation. This subsequent ramble is hardly the tradition “best of list” as few are able to fully imbibe the breadth of blues releases today.

• That said, my favorite independent release this year was, ‘Still the Rain’ by Karen Lovely. This is a luscious taste that simmers on low as Lovely’s vocals emotes modern vocal blues that breed authenticity over mimicry and clichés.

• Perhaps the wider industries ‘pick to win’ this year was former Fabulous Thunderbird guitarist Jimmie Vaughan’s release, ‘Plays Blues Ballads and Favorites.’ Vaughan’s understated guitar styling’s are ever-vogue and often tasty. His safe choice of songs indicates a lack of risk as the heir-apparent is positioned to define cool in today’s blues scene. It’s clear that Vaughan is neither hungry nor compelled to earn accolades. This record could have been better but is none-the-less, quite good. That said, the former dominance of the Austin sound has ebbed.

• The blues continues to be a guitar players market. This year’s ‘ax-man cometh’ disc is ‘Spread the Love’ by the ever tasty love supreme of Ronnie Earl and the Broadcasters. An instrumental record, Earl’s venture are endlessly textured and under-stated in a genre that leans toward two-by-four wielding mercenaries. If this guy ever put out a bad album, I haven’t heard it yet.

• Speaking of “great” guitar albums, ‘3 Hours Past Midnight’ (complied 1986) by Johnny ‘Guitar’ Watson is the definitive blues guitar album. A musical chameleon that served tutelage under fellow Houston players Albert Collins and Johnny Copeland, Watson’s catalogue is spotty ranging from the touted ‘Gangster of Love’ to the vapid, ‘’I Cried for You.’ Dying in Japan in ’96, Watson’s legacy is, for me, unexplored and beckoning with the subtly of a coastal foghorn.
There are three releases by ‘major artists’ that should appeal to the majority of blues fans;

• Eric Clapton’s self titled release, Clapton, came out late in the year. While some will kvetch that the former Patrick Clapham is not a blues artist, such standards are irrelevant. This is a solid record by the genre’s most impactful artist.

• Carlos Santana’s, ‘Guitar Heaven – The Greatest Guitar Classics of All Time’ is clearly targeted to baby boomer rock music fans that know this artist, and know the songs and are thus predisposed to hearing Santana cover songs they already know. Is it art? No. Is it commercially viable? Yes. This is a low risk, low cost gift that is artistically harmless but little more than a calculated cash grab. So don’t gift this to your serious music listener but a casual listener will likely be appreciative.

• ‘The Union’ by Elton John and Leon Russell is another speculative venture designed to salvage two careers. Media spin poses this as John’s rescue of Russell’s career. “Ellie” stands to gain artistic credibility from the presence of Russell as well as guest spots from Neil Young, Booker T. Jones, Brian Wilson, Robert Randolph and producer T Bone Burnett. This is a nice album that unfolds slowly. While not appropriate for a blues purist, most blues fans should be curious.

• Speaking of Classic Rock artists, the entire John Lennon catalogue has been re-released. As everyone’s ‘big brother,’ peace activist John Lennon’s death thirty years ago still pangs. Public Broadcasting’s documentary, LennoNYC’ attempted to re-define Yoko Ono’s role as Lennon artistic peer. Perhaps side-kick would have been a more believable as ‘Double Fantasy’ showcases the wide gap between their respective talents.

Vocally there are two other albums that stood out for me…

• The industry has donned John Nemeth’s ‘Name the Day’ as a front runner. Any critical perspective on this disc is roundly rapped but suffice it to say that while artful, Nemeth is the beneficiary of marketing as much as music…but then which successful artist is not? A rather predictable bent on the blues, this album is warmly received.

• Former Mavericks front man Raul Malo is this generations Roy Orbison. Long considered among the finest recorded vocalists, Orbison’s Texas roots align well with Malo’s Hispanic background to create an album, ‘Sinners & Saints.’ Malo swoon his way through a variety of styles but it all comes back to a beautiful voice and rich arrangements. No, this is not something for everyone but true music fans should find Malo’s cross-genre pollination interesting, new and unexpected.

• The ‘up & comer’ for t2010 is Ruf Record’s release, ‘Diamonds in the Dirt’ by England’s Joanne Shaw Taylor. Young enough to have impact, Shaw Taylor explores enough to make the release interesting. Her strength is minor ballads which lend themselves to airplay; however, she wisely pushes into other sounds and this exploration piques my interest. Occasionally she mistakes ‘shouting’ for emotive singing which I enjoy less. The mentoring of Dave Stewart (Eurthymics) – lead to connection with uber-producer Jim Gaines (Allman Brothers, Bonamassa) – which lead to endorsement by Joe Bonamassa – all feeds into a short cut to success…so perhaps it is who you know. The proof will be in the pudding and the pudding is still coagulating.

• For those that venture outside of the blues, Richard Thompson (Fairport Convention) has released an album that is an ocean of intrigue, ‘Dream Attic.’ Thompson’s guitar playing is unpredictable and second to none. His understatement and use of off-keys is ever interesting. Thompson is a niche artist Stateside but worth the exploration as he exemplifies among a minor handful that did not ‘sell out’ when the opportunity came knocking.

• Finally, Otis Taylor remains the genre’s most pressing artist. More than any other, to my mind, Taylor uses his music to credibly push the blues into crevices and passageways that are simultaneously intriguing and captivating. A crusty bastard, Taylor’s music uses hypnotic layering of blues textures to help a seemingly near stagnant artform expand beyond established confines (IMO). His new album, ‘Clovis People, Volume 3’ is an audible adventure that requires rapt attention from listeners and yet, somehow, Taylor is able to keep the focus on the industry. Taylor seems uncompromising, thankfully.